Online Encyclopedia

crime may have been, the punishment stands out even among the tragedies of Greek legend as marked by its horror—particularly so as it comes to us in See also:

Virgil (Aeneid, ii. 199 sq.), and as it is represented in the See also:

MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble See also:

GROUP

group, the Laocoon, in the Vatican. In the See also:

OLDEST

oldest existing version of the legend—that of See also:

ARCTINUS

Arctinus of See also:

MILETUS (mod. Palatia)

Miletus, which has so far been preserved in the excerpts of See also:

PROCLUS, or PROCULUS (A.D. 410-485)

Proclus—the calamity is lessened by the fact that only one of the two sons is killed; and this, as has been pointed out (See also:

Arch. Zeitung, 1879, p. 167), agrees with the See also:

INTERPRETATION (from Lat. interpretari, to expound, explain, inter pres, an agent, go-between, interpreter; inter, between, and the root pret-, possibly connected with that seen either in Greek 4 p4'ew, to speak, or irpa-rrecv, to do)

interpretation which See also:

GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe in his See also:

PROPYLAEA (Ilp6sruXov, 1pol- mala)

Propylaea had put on the marble group without reference to the See also:

LITERARY

literary tradition. He says: " The younger son struggles and is powerless, and is alarmed; the See also:

FATHER

father struggles ineffectively, indeed his efforts only increase the opposition; the See also:

elder son is least of all injured, he feels neither anguish nor See also:

pain, but he is horrified at what he See also:

SEES

sees happening to his father, and he screams while he pushes the coils of the See also:

SERPENT (Lat. serpens, creeping, from serpere; cf. "reptile " from repere, Gr.4 ml-eta)

serpent off from his legs. He is thus an observer, See also:

witness, and participant in the incident, and the See also:

WORK

work is then See also:

COMPLETE

complete." Again, " the gradation of the incident is this: the father has become powerless among the coils of the serpent; the younger son has still strength for resistance but is wounded; the elder has a prospect of See also:

ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape." Leasing, on the other See also:

hand, maintained the view that the marble group illustrated the version of the legend given by Virgil, with such See also:

DIFFERENCES, CALCULUS OF (Theory of Finite Differences)

differences as were necessary from the different limits of See also:

REPRESENTATION

representation imposed on the arts of See also:

sculpture and of See also:

POETRY

poetry. These limits required a new See also:

DEFINITION (Lat. definitio, from de-finire, to set limits to, describe)

definition, and this he undertook in his still famous work, Laocoon (see the edition of See also:

Hugo Blumner, See also:

Berlin, 1876, in which the subsequent See also:

criticism is collected). The date of the Laocoon being now fixed (see See also:

AGESANDER

AGESANDER) to 40–20 B.C., there can be no question of copying Virgil. The group represents the extreme of a pathetic tendency in sculpture (see GREEK See also:

ART, See also:

PLATE

Plate I. fig.

52).

End of Article: LAOCOON

Additional information and Comments

There are no comments yet for this article.

» Add information or comments to this article.

Please link directly to this article:
Highlight the code below, right click, and select "copy." Then paste it into your website, email, or other HTML.

Site content, images, and layout Copyright © 2006 - Net Industries, worldwide.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.

Links to articles and home page are always encouraged.

[back]
LAOAG

[next]
LAODICEA